Hipster Culture

Twenty-first century popular culture has given birth to a peculiar cultural figure: the hipster. Stereotypically associated with nerd glasses, beards and buns, boho clothing, and ironic T-shirts, hipsters represent a (post-)postmodern (post-)subculture whose style, aesthetics, and practices have increasingly become mainstream. Hipster Culture is the first comprehensive collection of original studies that address the hipster and hipster culture from a range of cultural studies perspectives. Analyzing the cultural, economic, aesthetic, and political meanings and implications of a wide range of phenomena prominently associated with hipster culture, the contributors bring their expertise and own research perspectives to bear, thus shaping the volume's transnational and intersectional approach. Chapters address global and local manifestations of hipster culture, processes of urban gentrification and cultural appropriation, alternative foodways and eclectic fashion styles, the significance of nostalgia, retro technologies and social media, and the aesthetics and cultural politics of literature, film, art, and music marked by self-reflexivity, irony, and a simultaneous longing for an earnest authenticity. Hipster Culture explores the diversification of hipster culture, sheds light on popular constructions of the hipster as cultural Other, and critically investigates hipster culture's entanglements with and challenges to dominant cultural discourses of gender, ethnicity, race, sexuality, age, religion, and nationality.

Twenty-first century popular culture has given birth to a peculiar cultural figure: the hipster. Stereotypically associated with nerd glasses, beards and buns, boho clothing, and ironic T-shirts, hipsters represent a (post-)postmodern (post-)subculture whose style, aesthetics, and practices have increasingly become mainstream. Hipster Culture is the first comprehensive collection of original studies that address the hipster and hipster culture from a range of cultural studies perspectives. Analyzing the cultural, economic, aesthetic, and political meanings and implications of a wide range of phenomena prominently associated with hipster culture, the contributors bring their expertise and own research perspectives to bear, thus shaping the volume's transnational and intersectional approach. Chapters address global and local manifestations of hipster culture, processes of urban gentrification and cultural appropriation, alternative foodways and eclectic fashion styles, the significance of nostalgia, retro technologies and social media, and the aesthetics and cultural politics of literature, film, art, and music marked by self-reflexivity, irony, and a simultaneous longing for an earnest authenticity. Hipster Culture explores the diversification of hipster culture, sheds light on popular constructions of the hipster as cultural Other, and critically investigates hipster culture's entanglements with and challenges to dominant cultural discourses of gender, ethnicity, race, sexuality, age, religion, and nationality.

Insider twentysomething Christian journalist Brett McCracken has grown up in the evangelical Christian subculture and observed the recent shift away from the "stained glass and steeples" old guard of traditional Christianity to a more unorthodox, stylized 21st-century church. This change raises a big issue for the church in our postmodern world: the question of cool. The question is whether or not Christianity can be, should be, or is, in fact, cool. This probing book is about an emerging category of Christians McCracken calls "Christian hipsters"--the unlikely fusion of the American obsessions with worldly "cool" and otherworldly religion--an analysis of what they're about, why they exist, and what it all means for Christianity and the church's relevancy and hipness in today's youth-oriented culture.

While the scholarly study of culture as a politically contested sphere in Palestine/Israel has become an established field over the past two decades, this volume highlights some particular understudied aspects of it: the relations between Arab identity, Mizrahi identity, and Israeli nationalism; the nightclub scene as a field of encounter, appropriation, and exclusion; an analysis of the institutional and political conditions of Palestinian cinema; the implications of the intersectional relationship between gender, ethnicity and national identity in the field of popular culture, and the concrete relations between particular aesthetic forms and symbolic power. The authors come from diverse disciplines, including anthropology, architecture, ethnomusicology, history, sociology, and political science. The chapters in this book were originally published as a special issue of Ethnic and Racial Studies.

Who was the turn-of-the-century hipster? Who is free enough of the hipster taint to write this history without contempt or nostalgia? Why are we tempted to declare the neo-hipster moment over, when the hipster's "global brand" has just reached its apotheosis? A panel of n+1 writers, including Mark Greif, Christian Lorentzen, and Jace Clayton (aka dj/rupture) invited the public to join an investigation into the rise and fall of the contemporary hipster. Their debate took place at the New School University in New York City, and was followed by articles, responses, and essays, all printed here for the first time. "The hipster is that person, overlapping with declassing or disaffiliating groupings—the starving artist, the starving graduate student, the neo-bohemian, the vegan or bicyclist or skatepunk, the would-be blue-collar or post-racial individual—who in fact aligns himself both with rebel subculture and with the dominant class, and opens up a poisonous conduit between the two." "Isn't hipsterism, like, the best thing that's happened at the end of the Bush years?" "The truth was that there was no culture worth speaking of, and the people called hipsters just happened to be young, and more often than not, funny looking."

The concept of everyday struggles can enliven our understanding of the lives of young people and how social class is made and remade. This book invokes a Bourdieusian spirit to think about the ways young people are pushed and pulled by the normative demands directed at them from an early age, whilst they reflexively understand that allegedly available incentives for making the ‘right’ choices and working hard – financial and familial security, social status and job satisfaction – are a declining prospect. In Youth, Class and Everyday Struggles, the figures of those classed as 'hipsters' and 'bogans' are used to analyse how representation works to form a symbolic and moral economy that produces and polices fuzzy class boundaries. Further to this, the practices of young people around DIY cultures are analysed to illustrate struggles to create a satisfying and meaningful existence while negotiating between study, work and creative passions. By thinking through different modalities of struggles, which revolve around meaning making and identity, creativity and authenticity, Threadgold brings Bourdieu’s sociological practice together with theories of affect, emotion, morals and values to broaden our understanding of how young people make choices, adapt, strategise, succeed, fail and make do. Youth, Class and Everyday Struggles will appeal to undergraduate and postgraduate students, as well as postdoctoral researchers, of fields including: Youth Studies, Class and Inequality, Work and Careers, Subcultures, Media and Creative Industries, Social Theory and Bourdieusian Theory.

Exposes the new generation of whiteness thriving at the expense and borrowed ingenuity of black people—and explores how this intensifies racial inequality. American culture loves blackness. From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders. An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.